Russell Miller

Russell Miller

Russell Miller

Russell Miller is the front-of-house/monitor engineer for Red Gate Sound & contributes reviews and an occasional snarky op-ed here at UNDERGROUND PRESS. If the music has a strong melody, a drive, or ambition chances are that it’ll have my attention. Knowledge. Follow Russell on Twitter and InstagramCheck out his tunes at SoundCloud

 RED GATE SOUND: Our Facebook | Writer/Contributor: Underground Press | Engineer/Producer: Arkayem Productions

Thursday, 10 October 2019 09:01

Forsaking Fate - 'Forsaking Fate'

The death metal community has a new arrival in the form of East London, SA duo FORSAKING FATE. The project began in 2016 with the union of guitarist Grant Hensburg and drummer Rory Towens. What resulted from this was the release of a strong self-titled EP. Though they've been cooking this up for some time, it sounds as fresh as ever and today the world will receive the first of what is sure to be many courses. Together they have put together five tracks of straight forward in your face brutality that is sure to get mosh pits forming wherever and whenever it is played and feed the masses with its seemingly endless bombardment of savage riffs and explosive blast beats.

Some bands these days rely on flashiness and gimmicks to sell records and push music, but not these guys. Five tracks of in-your-face balls-to-the-wall headbang inducing chaos that fans of classic melodic death metal know and love is what you get here with a splash of thrash for taste. The tendrils of old Gothenburg metal influence is drenched all over the record but especially in lead single 'The End of Existence'. From the infectiously melodic riffs to the fury and unrelenting blast of the drums one could easily mistake this for a classic cut off an AT THE GATES record from 1995. Even though most of the EP spends its time at 11 'Souls of Demolition' does get the to the groove in a way that doesn't appear beforehand with an absolutely filthy one-two punch of sick solo and earth-shaking break down that tastes like mid-2000's peak “melodeath” and thrashy metalcore.

New music, old sound, great ride. FORSAKING FATE does melodic death metal right and without compromise. If this EP is any indication, the future is bright for these guys.

Friday, 27 September 2019 09:03

No Requests - 'No One Knows What We're doing'

Contrary to what we were all taught in grade school, we humans can describe reality in four dimensions; height, width, depth, and as discovered today, the dimension of NO REQUESTS. Many musicians poke around and prod at the fringes of music in attempts to bring to the masses something new. With today's release of 'Nobody Knows What We’re Doing Neither Do We', Chris van der Walt (Guitar) and Clint Falconer (Bass) have pooled their talent, recruited drummer Gareth Bunge and set out to push the boundaries of aural perception while simultaneously challenging laws on which the known universe is believed to abide by.

The NO REQUESTS dimension is one that the lead single 'Choir on Fire' tries its very best to ease into. It begins as a tease of something you'd expect from a stoned love child of RED HOT CHILI PEPPERS and PRIMUS before turning the proggy out-of-this-world musing up to 11 for the remainder of the EP. There are no words that can aptly describe what follows from then on, but it is an experience and a half to be sure.

Get Your Copy Today!

Though not a inviting collection for those seeking a nice 4-minute jingle, an infectious headbanging groove resides in the title track and the penultimate song 'Nobody Knows What We're Doing Neither Do We'. This track engages full funk with an intoxicating combination of riffs that are guaranteed to send you travelling faster than light to a world of pure musical bliss. In point of fact, the riffs in this track are so addicting that you will probably find yourself replaying it multiple times before moving on as it is the shortest of the 4 tracks.

Listen to 'Choir on Fire' below!

Clocking in at a humble 26 minutes, this EP is a listen that offers more than it seems to on the surface. NO REQUESTS threw caution to the wind, embraced the unconventional and produced a trip that is out of this world, parts of other worlds and laughs at this world. Music is probably the most subjective thing known to man, and even then there is not much our ears have not heard but try telling that to this trio. Check out the EP below and enjoy the journey!

Thursday, 15 August 2019 10:53

INTERVIEW with Riina Rinkinen of Silentium

Finland’s SILENTIUM arguably has been a force within the symphonic metal subgenre since the band’s inception in the mid-nineties and is only a few years younger than the genre their most closely linked to (give or take a few years from whenever you think symphonic metal became a thing). Metal probably has as many subgenres as humanity has fingerprint patterns…ok, maybe not that many, but there is no shortage of bands whose existence and commercial viability are tied to and defined by whatever classification latches on or the trending artist at the time for better or worse. Some artists transcend their genre to develop niches of their own while some are overshadowed by more well-known acts despite the quality of and/or how adjacent the music may sound.

SILENTIUM’s signature blend of melody and power come from their use of orchestral sounds accompanied by guitar riffs. Since joining the band in the mid-2000s however, vocalist Riina Rinkinen helped further refine the band’s sound with her unique vocals, emotive delivery and poetic lyricism. ‘Seducia’ was the first album to feature the Finnish vocalist and brought solidification to SILENTIUM’s sound. Rinkinen’s performance was nothing short unique and definitely dynamic. There is range to cover any melodic passage, enough power to contend with the maelstrom of heavy riffs and blasting drums as well as the finesse to draw the listener in when the song demands it. As far as gothic and/or symphonic metal goes, a strong argument can be made as to how underrated this bunch is.

Silentium BW

That all said, we caught up with Riina (and keyboardist Sami Boman) to get to the bottom of why they’re one of the best bands you’ve not heard enough of as well as a few nuggets concerning their return to the studio.

  1. Silentium has been around for a long time and has seen some lineup changes. How would you describe the band’s sound over the years you’ve been a member to those who have not heard you yet?

"It’s true, this band is old! One of the things I love about Silentium is indeed the distinctive sound. It’s melodic, symphonic, pompous even, yet somehow soft and fragile at the same time. We make use of real orchestral instruments wherever we can. We don’t have a violinist at the moment, but Jani Laaksonen, one of the original Silentians, has made his strings sing for a couple of songs on the upcoming album. One song has a woodwind quartet. Even though our songwriting has evolved along the years I think the sound still holds the same qualities that give us our special twist."

  1. The writing style has always had this emotive authenticity to them and the performance never fails to carry the lyrics home. What is it like to hear the music underneath those words and give life to the story in each song you write?

"I’m glad you said “story” because that’s exactly what singing is to me: storytelling. Before this new, still unreleased album, Matti Aikio (bass) was mostly responsible for the lyrics, but this time they’re mostly mine. To me, singing is an outlet for all the emotions I go through day by day. As an HSP I experience things very intensely and I like to think I can convey some of that to the songs I sing. Sharing those emotions and hopefully being able to provide whoever is listening some relief, joy or something to relate with is the best I can hope for. I think besides motherhood, it’s my most meaningful task on this planet."

  1. What is the process of writing and composing of a SILENTIUM song like and how do you know when you have a completed song?

"We have two main songwriters in the band: Sami Boman and Juha Lehtioksa. Those two together or separately, come up with the basis of the song, the frame or the base so to speak.

Sometimes I’m the one to come up with the melodies, sometimes it’s a joint effort. 

Sami always does the orchestrations and usually has his hand in arranging the final product, even if the song is written by Juha. Then there’ll, of course, be nuances and bits and pieces added by everyone once the band rehearses the new material together. I’d say the song is ready and completed once it’s been recorded and mastered - up until then anything can happen."

  1. The band’s last release came about 10 years ago: a) how does it feel to be getting back into the thick of things after the time off from the release of Amortean? b) what does it feel like to beat TOOL to the punch of releasing new music?

"Simply put, it feels amazing. We’ve been cooking these new tunes, some of them, for years now. We are all extremely excited, it feels like the stars have aligned and pieces are finally falling into place. I love doing live shows and it actually makes me emotional just thinking we get to invade some stages soon enough.

Feels even more amazing. Expecting Mr. Keenan to blow up our inbox with pure hate any minute now. (Not really tho, we love you, Maynard!)"

  1. On the band blog, there is mention of getting some hands dirty with some old music in addition to the new music that’ll be on the new record. Could you share a hint or two…or five…pertaining to what the new album has in store?

"The new album is the best we’ve done so far. Musically, aesthetically and technically. The songs have a good variety of different moods and styles, all the while retaining the sound we discussed earlier. We have yet again failed to write a song short enough for repeated radio play. I, personally, don’t mind. We have a couple of ten-minute monsters in there and one of them is pretty much my favourite. Hard to pick one, tho. Lyrics-wise, I’ve been writing about my depression, about humanity and lack of, and about survival. The most personal lyric I wrote for my son. Good luck singing it without crying, Riina."

  1. What was the recording process like for the new record?

"Sami Boman: It was longer and more precise and thorough than ever before. In the past, we spent like four or five weeks in the studio in one go and came out with the recorded and mixed album exhausted and dizzy. This time we had a couple of weeks off after every instrument so we could rest our ears and tune every detail and nuance to serve the purpose we wanted. It kept the workflow fresher and I really think one can hear the positive influences it had on the new album.

Silentium Empty Cover

Riina: I did my vocals in two sessions. The first was extremely draining because of non-music related circumstances. Before singing the single “Empty” (Eva + Manu cover), after a night of zero sleep, I was literally sitting in the bathroom slapping myself in the face and bellowing the positive affirmation of “get it together, bitch!”. Thank the cosmos for Aksu Hanttu, the wonderful dude who produced the album, he had an empathetic approach to my momentary crumbling and we were able to make some magic. The second round was less stressful, but there’s always a lot of emotion entangled in studio work, no matter the situation."

  1. The band just dropped a music video for Empty, a cover song. What went into deciding on this song before the any from the new album?

We wanted to do a stand-alone kind of piece before the album to let everyone know we’re back. Schedules wouldn’t allow us to even consider one of the new original Silentium songs for this, so it was sort of a no-brainer. Besides, the song is amazing, originally and as our version, even if I do say so myself.

Silentium Band 1You can check out the video below! 

  1. If you could describe the new material as a movie soundtrack, how would you describe the movie’s plot and which movie(s) would you say would fit it best?

"[The movie would be] a sort of a dystopian fantasy, with elements of romance, tragedy and war. Can’t think of a movie that fits the bill at this moment, maybe we should start drafting a script and pitching it to all the big names?"

  1. Will Silentium be touring in support of the new material?

"We haven’t booked a tour yet, but that is most definitely the plan. If you happen to be in Jyväskylä, Finland at the end of September, 28th to be precise, you can catch us at Lutakko playing with ENTWINE. All info of future gigs will be available on our Facebook page as well as our website."

  1. What would be the dream festival bill for Silentium to appear on and where would it be?

"Bands like KATATONIA, OPETH, ANATHEMA, DIMMU BORGIR, SOEN (whose last album was really good) and from a selfish perspective I'd love for DRACONIAN to be there as that would mean hanging out with one of my dearest friends. The “where” is easy, someplace warm..stupid Finland, always freezing. Wouldn’t mind playing Wacken Open Air and Summer Breeze for instance."

  1. Are there any juicy tidbits of info you’d be able to share with Underground Press readers and where can we all stay hooked?

"I can tell you that we’re definitely releasing another single this fall, September-October, and this time it will be one of the new songs. Still having an internal battle with the guys about which one!

You can follow us on our Facebook page Facebook and at our website silentium.fi ~ More action at the FB page tho."

Wednesday, 10 July 2019 07:55

Review: Black Pistol - 'Sins of the Father'

It pays to turn off the brain and just live through the moment and take in the raw energy that is rock and roll. It doesn’t take much to sit back and let the intensity of a good headbanger take over and wash you away. Cape Town rockers BLACK PISTOL are leaning on that sentiment with their latest offering, Sins of the Father. Roan (guitarist) and Jacques (bassist) are veterans of the local music scene who’ve added on vocalist Stiaan Bruwer and drummer Daniel Louw to take the Band to the next level of intense 80s inspired rock and roll. Drawing heavy inspiration from classic elements of hard rock is often a risky proposition but these guys are determined to deliver the goods regardless.

You will not find many people who relentlessly complain about how polished and close to perfect any given artist sounds; no one fails to sell music for sounding too good. That said, bands earn rabid and loyal fan-bases with a relentless dedication to authenticity no matter how “packaged” they may sound or how raw and unpolished they may be.

With that said the question remains just how raw is “too raw”? BLACK PISTOL opens Sins of the Father with Nowhere to Run and with it asks, “how about this?” The track is tight, raw, nasty, opens with a drum pattern that sounds like it has been strangled half to death with the first compressor the band could find in Jo Ellis’s Blue Room Studios. Just like that the album signals just how down and dirty it’s willing to get.

Everything in each and every track is unabashedly in your face and throwing everything including the kitchen sink into the feel and aggression BLACK PISTOL revels in. Lead single and album closer Preacher exemplifies and embodies the “don’t give a damn” attitude BLACK PISTOL approaches. Aside from some lyrics about Jesus (that would surely make American TV personality Megyn Kelly angry), the track is a pure adrenaline rush. It is an angry and aggressive social commentary put to music in the only way that makes sense.

By far the crown jewels of this record are the vocals. Stiaan Bruwer brings a convincing performance on every track whether it is the snarl in Down the Hatch or the reserved contemplative crooning in Heaven and Hell, Stiaan proves he can change gears effortlessly and maintain energy when it is called for. All around the musicality is solid and is tailor-made for a good time at any concert or festival setting.

At times the lyrics may fall into the “too on-the-nose”, some tracks recycle riffs from others, the drums can feel like they’re too claustrophobic, but these are small blemishes on what is overall a decent listen. The album is due out on the 12th July 2019. You can pre-order the album here.

Follow BLACK PISTOL: Facebook | Instagram

 

Friday, 03 May 2019 11:59

Review: Fleche 'Do Not Return Fire'

What would be the perfect way to soundtrack a relaxing drive down the expressway with the sun in your face and the wind in your hair? If you said FLÈCHE, you would most definitely be right! These gentlemen are set to release their second full-length album ‘Do Not Return Fire’ and we got our hands on a copy.

The French indie rock quartet looks to emphasise the rougher aspects of their sound which contrasts their flashier and more atmospheric releases in the past. A six-month break between recording sessions presenting a cohesive collection of music as intense as these guys intended a daunting task but they have something going on here.

From start to finish, you know exactly where FLÈCHE is going and you’re there more or less fifty seconds into pretty much every track (‘Invincible’ actually wastes zero time getting to the point). Don’t let that dissuade you from taking the journey however; the album convincingly avoids being one-note and exhausting by providing varied paces and soundscapes to shake it up.

For instance, ‘Wait, Sit, Listen', and ‘Not a Single Thing’ introduce themselves with humble emotive lyrics over clean guitars that set the stage for the listener to be swept away by the contrast in density as the chorus blasts its way in. By contrast album opener ‘Gold and Black’ and ‘Pretend/Forget’ spend time in an bounce you would find in the catchiest 80s rock, then crash head first into that familiar flying chorus packed to the gills with distorted guitars and layered vocals a combination that doesn’t happen enough in the album to be frank.

FLÈCHE released four singles in the lead up to the release of ‘Do Not Return Fire’. Each of those singles features one thing in common and that is the bombastic high flying chorus section that will more than likely have you shouting along at the top of your lungs.

 Listen to 'Gold and Black' below!

After the release of his brand new single, 'Bad for Me', in June 2018 ROARS HUNTER has truly set out to define a new genre that is truly lacking in the industry. HUNTER is certainly turning heads with his new single, 'Bad for Me'ROARS, a newcomer to the scene has already released 3 videos and is not planning to stop anytime soon. With a debut EP due out in March/April 2019.

The Grammies came, saw, and conquered absolutely no one’s expectations with its usual “hand wringing” approach to the music industry changing beneath its feet, its inability to be culturally or generationally relevant and, despite Mrs. Keys’ best efforts, wasn’t very filling from an entertainment standpoint. Pop music’s Super Bowl of self-congratulatory pomp is one reason acts like Britain’s ROARS HUNTER earn currency with their unique approach and honest presentation as heard in their lead single, ‘Bad for Me’. The blandness of the Grammys may have left a less than desirable aftertaste in your mouth so maybe a palate cleanser is in order.

Hailing from London, ROARS HUNTER is a singer-songwriter who made his bones busking –competitively- and winning awards along the way. HUNTER is a genre-bending artist who does not shy away from brewing up a musical mixture of low fidelity drum grooves, gritty sawtooth synths, dark melodies and a haunting aesthetic. His journeys have taken him from being a finalist in London’s biggest busking competition to recording at the acclaimed Planck Music studios where he recorded all of his tracks.

The lead single ‘Bad for Me’ has an ambitious nostalgia about it that is sure to catch the ear of those who crave sounds that are off the beaten path. If this track is any indication, his future debut EP, and trajectory as a major player in the industrial/punk-electric music realm could be a force to be reckoned with.

Watch the 'Bad For Me' video below!


Follow Roars Hunter: Facebook | Twitter | Instagram | SoundCloud | YouTube

Tuesday, 01 January 2019 06:39

Hidden Gems 2018

Currently, at the time this was written was still 2018, if you’ve already crossed over to 2019 (…or beyond); 1) Greetings from the past, 2) There’s some music that you left back here! By now everyone has published their “Top (X) of 2018” lists filled with everything you’ve already seen and/or heard but we do it a bit different around here. Yes, UNDERGROUND PRESS has remained vigilant and has scoured the “interwebs” for under-the-radar albums, and buried songs from 2018 and placed them right here in absolutely no order for all of you future dwellers…have a listen!

GEM: The tracks ‘Urban Wilderness’ & ‘Prelude For You’ from the album Bloom

South Africa’s EMERGER busted onto the scene with their debut ‘Bloom’ way back In May of 2018 and with it a music video for lead single Hindsight and awards for ‘Break & Fall’. Don’t let that distract you from digging a bit deeper into this little set of songs. ‘Urban Wilderness’ and ‘Prelude for You’ are two tracks that absolutely need your ears. The tracks feature some of the duo’s strongest melodies and overall songwriting. Listen below!

GEM: The Album ‘Chime’

American rapper DESSA’s album ‘Chime’ features some of the most indelible and substantive lyrics that will likely go vastly underappreciated. The Minneapolitan turn New Yorker tackles issues pertinent to not only an artist but female hip-hop artist who is fearless in her endeavours. ‘Fire Drills’ is one of the hardest hitting songs on the album but from top to bottom Chime is as wide as it is deep with a bounce here and there to keep even the most mundane hip-hop head hooked on her every syllable. Listen below!

GEM: The standalone single ‘Fiasco’

There is no doubt that hip-hop has been boosted by the many beefs and battles between rappers over the years. In fact, “beef” is to hip-hop as is apple pie is to America. Brooklyn rapper PATH P ditches that formula with this homage to one of his primary lyrical inspirations LUPE FIASCO. The track itself is a standalone single tied to a music video featuring sprawling vistas depicting the rapper's hometown, Brooklyn, New York. Sometimes all we need is a little love… ...you know? Watch below! - Video Produced by Arkayem

GEM: The song ‘Faithless’ from the Dirge EP

Perhaps 2018 wasn’t as loving and left you with a bitter aftertaste instead. Let DURGE provide you with that much needed cathartic cleansing as you embrace this New Year. The track ‘Faithless’ dials up all the right dark emotions that embody a previous year gone wrong and does it in spectacular fashion. DURGE leans on their heavy instrumentation a dark aesthetic all across Dirge, but this track that increases the emotive potency by a considerable factor. The desperation, depression, and crippling certainty of helplessness are on full display. Check out the track and the album for yourself below!

GEM: The track ‘Silk’ from the album Reminiscence

RIAAN NIEUWENHUIS has put in a lot of work throughout the years. Picture, in your mind the opening intro to a throwback crime show, or a montage of towering skyscrapers or sweeping shots of an inner city over a listen to ‘Silk’. The track is a nostalgic minimalistic trip-hop instrumental piece off of RIAAN’s most recent release that should age like a fine wine even as it already sports an “urban classic” feel to it. Listen here!

reminiscence album cover FINAL

GEM: The track ‘Luminace Forever’ from the album 'Leave the Bones'

Last but certainly not least, ring in this New Year with the nuclear warhead of a track that is ‘Luminace Forever’. WIRE LOVE delivers an absolutely massive sound on their latest release Leave the Bones, and this track brings it with gusto. The bass tone has a freakishly menacing fuzzy overdrive that probably shook Europe during the recording session but the rest of the band doesn’t wither in its wake. If you’re down for a screamo or post-hardcore revival in 2019, make sure to keep this track in your playlists. Listen Here

WIRE LOVE Leave the Bones Album Cover

As always stick with UNDERGROUND PRESS for new artists and new music from all genres and every corner of the earth, but especially South Africa’s immensely deep music scene!

Monday, 17 December 2018 08:54

Review: Emerger – 'Bloom'

Does pop music even pop bro? EMERGER provides their answer with the recently released 'Bloom', an ambitious serving of alt-pop draped with a hyper-modern aesthetic that is nothing short of dazzling. At eight tracks in length, 'Bloom' showcases the production and song-writing talents Emma de Goede (vocals/piano) and Gerrit Matthee (producer/multi-instrumentalist) honed while studying music at the University of Cape Town.

Uniformity and familiarity is the name of the game for this collection of tracks. Take, for instance, the album opener ‘Hindsight’ and the title track ‘Bloom’. The two tracks bookend the album-proper with the former being a shimmering upbeat number and the latter being a trip-hoppy soundscape. Bother have a similar feel with refrains that will induce an involuntary head bop or two, tight hummable melodic leads, and drum patterns with just the right amount of pep.

Listen to 'Bloom' below!

To buttress the memorable point, one would be remiss in not noting vocalist Emma de Geode’s contribution on that front. The vocals soar in lock-step with each songs crescendo and pull back with appropriate emotive finesse as evidence in the epic business of lead single ‘Break & Fall’ and the more intimate ‘Prelude for You’. Emma knows where she is going melodically as her melodies dance atop perfectly complementary chord progressions.

On the first listen, Bloom may seem too cold and rigid for those who are predisposed to approach “pop music” with skepticism. That said there is enough here to loosen a few obstinate music tastes. Each track is connected sonically and does well to glue the group together for an easy listening from start to finish. It is safe to say that the EMERGER crafted each song with an incredible attention to detail with a simultaneous gentle hand as to not sacrifice musicality.

'Bloom' is available now at iTunes and all major streaming services.


 Follow Emerger: Website | Facebook | Twitter | Instagram | SoundCloud | YouTube


 

Friday, 14 December 2018 09:26

REVIEW: Wire Love – 'Leave the Bones'

If the human condition and the certainty of uncertainty that accompanied it were a motion picture, WIRE LOVE’s latest effort 'Leave the Bones' would be the soundtrack. Hardcore-rock music often falters when it comes to blending musicality and intensity and presenting a cohesive (and more importantly edifying) listening experience. It often results in a seasonless soup of distorted bedlam, aimless screams with no real definition and start-stop patterns almost entirely void of anything resembling groove. This is not that, and Germany's hardcore scene would do good to exalt what this group has on offer.

From a production standpoint, Leave the Bones has a lot of meat on its bones. The guitars and bass lock in tight together with a less-is-more approach to distortion and overdrive that provides clear definition without sacrificing weight; in other words, WIRE LOVE is heavy…really heavy.

The album opens with a delayed punch in the face with ‘Symmetry’ and ‘Red Dress’, the latter of which opens with an eerily beautiful preamble that is way too short because continuing with a brutal onslaught of a groove that should maintain the energy of any mosh-pit. From then on the barrage is maintained at a clip that is as unforgiving as it is dynamic.

What truly makes this collection of tracks is its ability to maintain its intensity even when it drops its density. ‘Shadow’, for instance, sports an entire passage in a melancholic haze bookended by relentlessly heavy grooves with screaming lead lines everywhere. The succeeding ‘Luminace Forever’ then turns them up to eleven with a vengeful ferocity and there is no turning back from there.

Take the infectious grooves of GLASSJAW, the relentless energy of early ATREYU, with a splash of BOTCH and you will get WIRE LOVE. If this album is any indication, Germany’s post-hardcore scene is in for a revitalisation that only comes around once in a blue moon…watch out for these guys.

WIRE LOVE Leave the Bones Album Cover

You can order your copy from iTunes today.


 

Tuesday, 30 October 2018 07:13

Review: Glory Fades – 'Everything Is Lost'

Angst, anger, scorn, longing; emotions that were a mainstay of an early to mid-2000’s (as well as its revival a decade later) movement that brought forth acts such as BRAND NEW, TAKING BACK SUNDAY, WEEZER and the like. While the subject matter isn’t a one-to-one ratio, the energy and sentiment are with ‘Everything is Lost’, the latest offering from alt-rockers GLORY FADES. The wave of nostalgic resuscitation that has reinvigorated mainstream appeal in many genres has not spared what has at times been affectionately termed “emo” or “pop-rock”. GLORY FADES has been at this since their debut with ‘Late in the Day’ back in 2017 and look to continue their journey into the heart of every millennial longing for a return to the days of yore.

Hailing from Wolverhampton, England the five-piece has a remarkably noticeable American emo hard-core aesthetic on the surface. Each song features riffs that work, drums that provide enough “oomph” and “pizzazz” to keep things interesting, and vocals that do well to bring everything together. Underneath the hood, the band touches on the cliché emo subject such as heartbreak and all things bleak for much of the album.

That said, there are some highlights on this record that warrant giving the band a few, repeat listens. ‘Growing Apart’ which features guest vocalist Amy Wyatt is a step away from what the album serves up with its very power chorus and silky chorused clean guitar licks. The high-energy ‘Angels with Filthy Souls’ not only features some of the strongest vocal melodies but also a rather strong commentary relating a certain world superpower and its “leader” whom shall remain nameless.

There is not much in this record that hasn’t been done before, but it is executed well enough to be infectious and surprisingly “earworm” worthy. One thing is for sure, the energy much of these songs contain is tailor-made for the gig experience. There is no way that the entire not be found mouthing the entirety to ‘18 Years’ and that is all GLORY FADES needs for this album to be worth a listen.

glory fades everything is lost


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